Shogun Minamoto Yoritomo established his military government at Kamakura in 1192. His Minamoto dynasty, however, was soon succeeded by the Hojo Clan, who continued to exert control until 1333. The Hojo family imported many fine influences and articles from China, including paintings, porcelain, urushi lacquerware and other artworks, and Buddhist culture. Under the Hojo Clan, Zen Buddhism flourished and five famous Zen temples were built in the Kamakura vicinity, of which Kencho-ji, Enkaku-ji and Jyufuku-ji are the most noted.

Among those works of art imported from China were very precious and elegant dishes and incense boxes created in the technique known as Tsuishu. These objects were made from wood which was then lacquered with urushi dozens of times, and only afterwards exquisitely carved. Japanese craftsmen studied the technology of Tsuishu and modified the technique, applying it to Japanese traditional Buddhist arts. This, then, is the origin of Kamakurabori, the decorative lacquer form where the body of the object is first carved, and then lacquered.

Masterpieces such as large incense boxes (property of Nanzen-ji, Chion-ji, Konren-ji in Kyoto) and an inkstone desk decorated with shishi boar, lion, peony and monkey (property of Kamakura National Treasure Museum) were created during the Muromachi period. Artistically designed camellia flowers were carved into carrier boxes, found in the collections of Chuson-ji and Jigen-ji. They are well known and popular as classical forms of Kamakurabori.

The words “Kamakura Items” appears for the first time in ‘Sanetaka Diary,’ written by an imperial court noble of this age. We can assume that dishes and incense boxes called “Kamakura Items” were very popular presents among imperial court nobles at that time, and were among the most favored decorative objects to be found in their rooms used for daily living.

In the Edo Period, the tea ceremony became widely popular. People desired tea-caddies, incense boxes and incense burners which were decorated in the delicate lacquering technique known as ‘Makie’. However, elegantly designed Kamakurabori was also much loved and appreciated. We can see comments about Kamakurabori in a textbook of tea culture - the ‘Manpou-Zensho’ - which was published during this period. Particular designs in the Chinese style, such as peony, guri and figures of Chinese buildings and landscapes were very popular. However, towards the last stage of the Edo period, peoples�f taste changed to simpler and quieter themes. There was an emphasis on ‘Wabi’ and ‘Sabi’, two words which conjure up Zen-like images of imperfection, tranquillity and impermanence. At this time, Kamakurabori lost a sense of dynamism in its style.

The new Meiji government promoted Shinto and was anti-Buddhist, and an active policy to abolish Buddhist statues was proclaimed throughout the country. As a result of these policies, many traditional craftsmen lost their jobs. In the case of Kamakurabori, only the Gotoh and Mitsuhashi families survived. Craftsmen belonging to these two families made a conscious effort to maintain their Kamakurabori traditions by adapting their techniques to handicraft objects more suitable to a contemporary lifestyle. In 1889, the Yokosuka train line opened communication links between Tokyo and Kamakura. Kamakura then came to prosper as a country house and resort district. Many people visited Kamakura and there bought items of Kamakurabori as charming souvenirs. They particularly appreciated items such as small plates for sweets, teacup saucers and serving trays. This Meiji period tourist trade would enable Kamakurabori to develop into the art form we know today.

After the war, the production of Kamakurabori made an astonishing recovery. People began to enjoy their leasure life-style and were supported by economic prosperity. People also began to appreciate the warmth of traditionally produced crafts. Kamakurabori has increased the range of objects which its techniques can now produce, and the production of Kamakurabori as a hobby has become extremely popular, not only Kamakura, but throughout Japan.